Floating in like a refreshing Pacific island breeze, Moana comes along a mere 10 years after the animated feature on which it’s based, and while the live-action remake knows better than to tamper with the story’s sturdy bones, this charming new iteration stands confidently on its own. Chalk that up to a winning turn in the title role by Australian newcomer Catherine Laga’aia as a Disney princess with no need for a prince to figure out who she is or what she wants; and winking backup from a self-parodying Dwayne Johnson, fleshing out his voice role from the 2016 original, the egotistical trickster demigod of wind and sea, Maui.

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I confess I’ll always be skeptical about the need for Disney’s live-action do-over assembly line as anything beyond a cash-grab regurgitation of proven screen properties. But at their best — say, Kenneth Branagh’s Cinderella, for one — they can put a fresh sparkle on beloved material, allowing for discovery by a new generation and the warm comfort of childhood memories for audiences old enough to have experienced them the first time around.

Directed with verve and generosity of spirit by Thomas Kail, the film contains more CG-heavy elements — cute animal sidekicks, marauding coconut pirates, the magical powers of the ocean or the wrath of a volcanic demon — that do prompt the usual question: How is this any different from digital animation? But such concerns recede when a movie has this much heart and humor, not to mention respect for South Sea cultures, inventiveness with their mythology and an infectious sense of wonder for the miracles of nature. Does it bring new ideas to the material? No. Does that matter? Also no.

Played at age four by Emma Puahi-Shapazian, at eight by Amaya Masoli and at 16 by Laga’aia, Moana has been raised with love in the idyllic Polynesian community of Motonui by her parents Tui (John Tui) and Sina (Frankie Adams). But her deepest spiritual bond is with her grandmother, Tala (Rena Owen), who shares stories of their island ancestors and has an intuitive understanding of Moana’s magnetic attraction to the ocean.

Screenwriters Jared Bush and Dana Ledoux Miller briskly sketch in the legend that hovers like a stormcloud waiting to descend over life in the lush coconut groves and on the golden beaches. A thousand years ago, in a misguided effort to bestow the gift of creation on humanity, Maui stole the heart of the goddess of nature Te Fiti and then lost it at the bottom of the sea, along with the magic silver fishhook that enabled his shape-shifting powers. With Te Fiti gone, a terrible darkness began slowly taking hold of the islands and their surrounding waters.

Motonui has long withstood that curse, but trouble catches up to them when disease spreads through the coconut trees and the fisherman report that their once plentiful catch has disappeared. Local lore forbids anyone from venturing beyond the reef, so when Moana volunteers to face that danger and go out into the ocean in search of a new food supply, Tui steps in, fiercely protective of the strong-willed daughter destined to succeed him as chief of Motonui.

But Tala knows that the sea has chosen Moana to find Maui and force him to restore the heart of Te Fiti, saving the islands from devastation. She takes her granddaughter to a secret cave full of boats, revealing that their ancestors were once voyagers, until the disappearance of Te Fiti made the oceans unsafe. Moana sneaks away and sets sail, with the ocean guiding her at every step. Even when she’s tossed about in a violent storm and washed up on a deserted island beach it’s for good reason, taking her directly to Maui.

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Johnson is a great sport as the conceited demigod, popping his massive muscles and flipping his long, luxuriant curls while inviting the “tiny human” to worship him. Moana, however, is unimpressed. He considers her mission foolhardy and is fearful of going up against Te Kā, the demon of fire and earth that long ago rendered him powerless. Instead, he takes off in Moana’s boat, but finds her impossible to shake.

The movie could stand to shave off 10 minutes from its midsection on the ocean, which often suffers from too many flat, green-screen backgrounds. But much of the enjoyment comes from the scrappy rapport of the seemingly mismatched voyagers, as Maui keeps looking out for himself and Moana refuses to let him shirk his responsibility. She appeals to his vanity by talking up his potential to become a hero to mankind again; even the tattoos that cover his upper body and have a life of their own, like animated hieroglyphics, agree with her.

Johnson and Laga’aia are terrific together as the reluctant buddies, whether facing disaster or adventure, often breaking into catchy songs by Lin-Manuel Miranda, Opetaia Foa’i of Oceanic music group Te Vaka, and Mark Mancina, who composed the score. Sure, many of the songs could almost be recycled melodies from Hamilton — a celebrated previous collaboration of Miranda and Kail you might have heard of — but the actors inject so much personality into the numbers that it seems churlish to quibble.

Among the standouts are Moana’s lovely “How Far I’ll Go,” tweaking the traditional Disney princess “I want” song so that it’s just as much an anthem of promise for the wayfinder and leader she will become; and Maui’s vigorous expression of self-love, “You’re Welcome,” with its amusing rapper Rock interlude. As in the original film, one of the most fun musical moments is “Shiny,” a cute glam-rock riff sung once again by Jemaine Clement as Tamatoa, a giant crab with a glitter fetish. High on top of the crustacean’s mountain of treasures from the ocean floor sits Maui’s lost hook.

While the movie belongs to Laga’aia (whose father is of Samoan descent) and Johnson, there are invaluable contributions from Tui and Adams as Moana’s proud parents. It’s a stirring touch that Sina recognizes and subtly encourages their daughter’s formidable drive before the chief is willing to accept her independence. And Owen — the New Zealand actress who first gained attention as the victim of domestic violence in Lee Tamahori’s grueling Once Were Warriors — brings warmth and earthy wisdom to Tala, who provides a living link to the ancestors.

There’s been some online indignation — when isn’t there? — about it being too soon to remake a widely adored film from 2016. In principle, I would agree, but the new Moana is a captivating family entertainment that deserves to find an audience — brimming with visual interest, vibrant color, gorgeous design elements (the fine detailing in Liz McGregor’s costumes is exquisite) and alluring tropical settings. Principal location shooting was done on O’ahu, Hawaii’s third-largest island. The joyfully moving final act almost makes it feel almost like a vacation there.

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